Al Mann - 101 Psychic Tests

'L MANN gzd'~ (201) 431-2429POST OFFICE lOX 144 FREEHOLO. NEWJERSEY 07728

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(201 ) 431-2429POST OFFICE BOX 144 FREEHOLD, NEW JERSEY 01721

10/ 'PA'IclJie ?14r4(copyright by Al Mann Exclusives, 1983)

1

Fig.

mirror ---

2. THE_FINGER TEST I By the same above method. you canhave a person stand on your right side and hold his handon the left side of the bucket, holding up 2 or more fingersor none at all as you divine the number of fingerslJ. THE DICE. TEST I With the bucket over your head have someonethrOW three dice on the bucket and to jot down the sum of thethree upper number of dots on the three dice.

You then reach over the bucket carefully and pick up one ofthe dice holding it against the side of the bucket so that youcan see the bottom number. Subtract the number, say it is 2, from7, to get 5. 5 is your key number to remember. ~hen throw the die

St-{t.tt~< '1~4CA-1. TH~ JRONSCYT~~~: Add this effect to your program and you will

have a reaction from your audience worth more than the price ofthis book. This effect, besides being novel andmysterious, causes much talk and your audiencewill remember it for years.

EFFECT, While Mentalist dons a steel bucketover his head, anybody shuffles and cuts theirown deck of cards and then places the deckon top of the steel bucket. Mentalist thenreaches up, cuts the deck, removes a cardand names it! while holding the card highover his bucketed head!

The effect can be repeated many timeslFig.

THE GIMMICK is a piece of mirror that is gluedto the top edge of a card case. This card casewhich may be empty is in the MENTalists breast coatpocket. The method of working is relatively easy. The Mentalisttakes the card and holds it next to the bucket on his left sideat about the place where his temple is. The card is reflected onthe mirror and to the eye as the Mentalist looks down into hiscoat pocket. The mirror measures about 1/2 inch wide by 2inches long. Fig. 2

The mirror can be placed in any angle andit can be covered with a hanckerchief which isremoved to wipe the bucket before the presen-tation! NOTE. Instead of a round bucket you mayuse a square 2-gallon bucket.

f. p/nj/fm

2101 PSYCHIC TESTS AN AL MANN EXCLUSIVE

THE DICE TEST corrt ,

away, on the floor or table, or over your shoulder.Next reach over the bucket carefully and take another die

and show the bottom number to the person doing the adding andtell him to add that number to his total. Repeat the same withthe third die, throwing away the dice as you did with the firstone. You, of course already know the total. Just add 5, your keynumber, to 14 to get 19, which should be the total.

Fig.5

Fig. 7

5. ~_!:I~ ..lI.eP~!~H?lm GLASS __Q~ WAT ~.B'As seen in the circle, a glass

is secretly encircled by the loopof a tread with a slip knot.The glass is then partially fill-ed with water from which themagician drinks. A wooden ruleris then stuck into the glass asit is held about a foot from thebody. The hand is then releasedand the glass is seen to be sus-pended in mid air. (Fig. 4)

This stunt is excellent for theseance room and subdued light.

At the end, the ruler is passedall around the glass to show thatthere are no strings attached andat the same time, the ruler push-es off the string. (Fig. 7)

The glass is suspended by thepressure of the hand on the ruler.

4. ~ kIl:LM~DIPM'.l::..I30QK._ ~~ST EFFECT I Anyone chooses a playing [j C ~~- ~

card from a deck and is told to tell no -_".:_-_ ,..,,Y/._'.J~.:/. ~~ ~::_one his choice. While the medium leaves ~ ~ .the room or turns his back, the cardis inserted into anyone of three (ormore) books on the table. The chosen pag@ Fig. Jis then noted and the book is closed.

When medium returns, he names the chosen card, the book it isin and the first sentance of the chosen pagel

MErHOD. The card is chosen from a stacked deck like Si Stebbinsso that the medium already knows the card when he leaves the room.

The three books, each have a tiny piece of paper on top (ora few grains of salt) so that when the book is opened, the tinypiece of paper or salt falls off. The books used should be somethat force a sentance or word, like the Sherlock Holmes books orUNIWORD or your favorite so that no matter where the card is in-serted, you will know the first sentance or word.

)101 PSYCHIC TESTS AN AL MANN EXCLUSIVE

e. THE SUSPENDED WAND, CANE OR BROOM. By Robert Gysel.

~Fig. 8

Gysel's gimmick is shown in Fig. 8. He fooled manywith it. It is clipped between the fingers and thewand or cane is then forced into the metal gimmick.It can then be tossed from one hand to the other toshow both hands otherwise empty. Wand or cane isthen suspended in many positions after which it isplaced under the arm and the hands shown empty againthen the wand or cane are removed by a downward pull leavingthe gimmick hooked to the coat by the tiny hook on its side.

Fig. 10

BFig. 11

Fig. 9

7. THE SUSPENDED PENeI~ IThe pencil that suspends

by apparent magnetic poweris done by a tiny hook asshown in Fig. 9. The tinyhook is made with a sharpknife. The pencil can be laidon the palm of the hand andhooked into the skin so thatwhen the hand is turned overthe pencil remains suspended. In likemanner it can be hooked to the clothingor to a drapery. To remove the hookthe pencil is rolled on the floor ortable. After that try to do the trickshown in the circle. If you can't, for-get it. In Fig. 10, downward pressureis applied with the middle fingertips andoutward pressure is applied with the firstand little fingers. 4:- ...........8. THE ANIMATED PENCIL.

Take a short piece of a metal pin and bend it as "'Ashown in Fig. llA and sharpenit on both ends. Then stick it tothe top of the pencil as in Fig.llB. Place this pencil into your cupped left palm and stick theend of the bent pin into the flesh of your palm at the base of thefingers. When you straighten out your fingers, the pencil willrise upwards to a standing position.

Fig.

9. PASSJl'!.Q~.LJ~~R!Q.I1. ~JJB9:UGH.pJ\ LOOP OF ?TRINGHALF AS LONG AS THE PENCIL. The pencil

with the-loopofstrIng are shown in Fig. 12.The magician very easily passes the pencil

through a person's coat button hole andpasses the pencil through the loop in theprocess. But when anyone else tries to do thetrick they fail, simply because of the tendency

Pa ing a Pencil througha Loop, Much Too Small

for It. Is Eaav. OnceYou Learn How the

Trick Is Turned

101 P~YCHIC TESTS

THE PENCIL AND LOOP TRICK corrt ,

4AN AL MANN EXCLUSIVE

to pass the loop through the coat's button hole first, whichmakes the deed impossible to do. Here is the secret in pictures.

""PULL LOOPTHR~/-

Fig. 14

@CONTINUE TO PULLTHREAD THROUGHUNTIL EYE OF NEEDLEIS WELL FILLED

that can be

Fig. 15

Fig. 1 6

';

' ~ CUT THREADSHERE

,~

~ " CUT LOOPSAWAY

\

\A B

Correct way

10. THREADING THE NEEDLE. Here is a fabulous effectdoneas part-of-'Ths"Sensative Fingertips' Act orduring a blindfold routine. The per-former can be blindfolded and stillhe threads a needle many times.

The threading can be done openlywithout covering the hands, sincethe hands hide most of the action.Yet the results seem impossible.

To do, the thread is first threadedthrough the eye of the needle. Then theneedle is pushed through a tiny loop atthe end of the string. The loop is thenpulled over the eye of the needle andfree of the needle as s~own in Fig. 15.1 and 2. The loop is then pulled throughthe eye of the needle which threads theneedle a second time. This move is thenrepeated as many times as desired.

Wrong way

11. ANOTHER MErHOD.Take several pieces of thread and

bend the top end for about half an inchas shown in Fig. 16. Pinch and roll hardthe bef~t ends between the tips of _tyour 1ngers. Then take a needle with Va larger-than-average eye and pushit down between your fingertips holding ~==============-=~-the thread. The eye of the needlewill go down and around the waddedthreads. This is a very amazingstunt that you can do totally blind-folded. You can feel the thread afterthe needle is threaded!

5Fig.18

City isthat theyvest inside

Fig. 17

A rat trap ri veted to a metal tray break. thelI1a.. vue like a .hot when a thread i. puUed.

AN AL MANN EXCLUSIVE101 PSYCHIC TESTS

12. THE SHATTERED CHALICE, An easymethod. The photo in Fig. 17 givesthe whole secret. The glass is mostlyfilled with water and some flowers. Thiswill misdirect the thought when theglass breaks and the water and flowersspill out.

A better set-up is to just bolt thethe spring gimmick of the rat trap tothe tray and discard the wooden platformand then paint the whole tray in onecolor to camouflage the gimmick. Ifpossible, it should be painted deadblack.

13. '?ltediulIZi~t,c StU14tJ:This section treats on some fabulous secrets for the medium

working the seance. The medium only has to do one simple 'trick'to amaze his sitters, during the interlude between readings. Any'trick' takes on a veil of deep mystery when done in the seanceatmosphere.

VEST TURNING, As I write this, a medium in New Yorkcreating a sensation with this effect. The Sitters sayhold the medium's hands and still he turns up with hisout! (Sept. 1983).

THE ACT, The medium is tied with a two-footlength of cord and the knots are wax-sealed!

Another length of rope is then loopedover the first cord and this second loopis given to anyone to hold. Medium thensteps into his cabinet or behind a cur-tain and within ten minutes, he canwalk out with the vest turned insideout and the knots intact!

First, as shown in squares 6 and7, Fig. 18, the medium frees himselffrom the second loop by dipping itunder the turn on his wrist.

Next, he reaches over his head andpulls his vest (unbuttoned) up andover his head and down between hishands. The vest is then ~urned insideout by passing it through the armholesas it hangs on the cord. (square 9).

All he has to do now is to put itback on and buttoned it, and reloop the second cord bydipping it under his wrist.

He can turn his vest right side out by reversing theroutine!

101 PSYCHIC TESTS

MEDIUMISTIC STUNTS cont.

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AN AL MANN EXCLUSIVE

14. FIREWORKS, Here is a little known secret. If you squeeze anorange peeling over a lit candle, it will produce some amazin~fireworks. This is great in the seance room. The medium passesone hand over the candle and fireworks result. He then passeshis other hand and again more fireworks. He can repeat this t~stover and over by simply palming pieces of the orange peeling andexchanging them as needed!

15. Have a person choose a card, from a deck and then control itto the top. Then take five cards, the chosen card included andplace them face up on the table. Then pick up one card at a timeand pass it over a candle. When the right card is taken. justsqueeze the palmed orange peeling and the fireworks tell you thatit is the chosen card!

16. THE LAND D TEST, Do the same with the Living and Oead test.When you pass the 'dead' name over the candle, the fireworks gooff!

17. FIREBALLS, In the darkened seance room, fireballs are seenshooting about. This is done with luminous tissue paper. To pre-pare, Use some dry tissue paper.

Then mix by grinding, 3 parts of gelatine, 3 parts pota8~sium bichromate and 37 parts of calsium sulphide. Stir one p.rtof boiling water to the thickly fluid. Apply one or two coatsto the paper, using a brush. The balls when dry, can be thrownabout in the dark seance.

18. GHOST MAKING, Use French Veiling, a very fine silk. Fire-proof it with alum water. Then dip it in phosphorous in a pot ofboiling water and olive oil.

By placing a light from beneath of the veil, a ghost formappears!

19. MANY GHOSTS!, Here is a secret that at onetime sold for lots.Place a piece of metallic phosphorous into a bottle and drop

in a few drops of Sulphuric Acid and cork the bottle. During thedark seance, open the bottle and blow slightly on the mouth ofit. Ghosts will then appear in many shapes. One medium had seye-ral of these about the seance room and then he went and producedghosts allover so that in the end there was an army of ghostsfloating about. The bottle must be corked after the fumes areblown.

20. FINGERTIPS GHO~, The medium, sitting at his table, rubs hisfingertips together and produces ghosts! This is done by usingthe 'smoke at the fingertips' powder that is sold at magic stores.IT WORKS! GHOSTS ARE SEEN AND RECOGNIZED BY THE SITTERS! So don'tpass it up.

101 PSYCHIC TESTS

MEDIUMISTIC STUNTS corrt ,

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21. DIABOLICAL EYES. Flashes of light shoot from the medium'seyes! This stunt was used by a famous medium in the dark seanceroom. METHOD. Cut out two tiny pieces of Silver tinsel, thissize (00) and place one in each eye lid on the outside. When theeye is open, the tinsel can not be seen, but as the medium ormagician blinks his eyes as he walks, flashes of light are re-flected creating a weird and uncanny effect. (Try Isinglass also).22. LUMINOUS EYES. If you have life-size photos of yourself tohang in your den, office or theatre lobby, paint the white ofthe eyes with luminous paint. They will glow in the dark andcause much talk!

How the match boxand match are held be-fore the box is tossedinto ~e air with a flip

As the box falls, theperformer a ctua Ilylights the match on atiny striker stuck tothe palm of his hand

Fig. 19

23. STRIKING A MATCH MAGICALLY!,Fig. 19 gives the method. About an

inch square of striking surface from ano-ther box is cemented or glued to the palmof the hand. As the box is tossed in theair, the match head is turned inward to-wards the palm and the match is strokejust as the box is touched with the back ofthe hand!

24. STRIKING A BORROWED MATCH ON THEPALM OF THE HAND! The same method Isused here except that the performerborrows a paper match from anyone.

He takes the match and says, "All Ineed is the match." And he strikes thematch on the piece of striking surfaceglued to his palm, and then flips the gimmick offand the pull vanishes it. (Fig. 20)

It should amaze the onlookers! Fig. 20

250 CAUSING BEUTIFULL EXPLOSIONS IN THE SEANCEB~' Dissolve a 1-inch s~uare of castile soap ina p1nt of hot water. Add 1/2 teaspoonful of gumarabic and one teaspoon of glycerine. Then add onepint of cold water. This solution will producesoap bubbles that bounce. Next blow the bubbleswith a pipe that contains a wad of cotton saturatedwith gasoline. Do this in the subdued light of theseance room and let the bubbles bounce around.When a lit candle is touched to the bubbles theywill explode like a bomb. That should give the sitters a thrill.

In the dark, the bubbles will bounce around the seance tabletouching the sitters like 'spirit kisses!' If they break theysound like an explosion!

8Fig. 21


cont.

101 PSYCHIC TESTS

MEDIUMISTIC STUNTS

26. CUTTING THE APPLE. The medium placesan apple on the palm of his hand and thentakes a long sharp knife and wacks theapple and the halves fallon the table,but the medium's hand is intact!

Fig. 21 gives the solution. A steelneedle is embedded into the bottom of theapple. The needle stops the blade I

Some stage performer~ place the apple on the head of a girlor on her neck or stomach and use a huge sword for the cutting!

This effect must be practiced on a board first!

27. APPARITIONS. A spirit face appears in front of the medium.It grows larger, then smaller and then disappearsl This is donewith a fountain pen that has both ends cut off to resemble atube. A ballon that has been treated with luminous paint isattached to one end of the pen and tucked in out of sight.In the dark Seance, the medium simply blows on one end of thefountain pen and the baloon comes into view with the 'spirit'face on it. It is then deflated and the pen put away I

28. A MAGICAL SUBSTITUTION. Fig. 22shows an easy way of doing a substitu-tion in the seance room or on stagel

The medium first dons a black robeand mask. He then steps into his cabinetand gets a coil of rope. He then callson two persons to come and tie him. Hecontinues talking all the while. Beforethe sitters finish tieing the trunk,the medium comes walking in from theoutside and through the front door!

A lady or anyone has been substitu-ted for the medium! and that person isfound in the trunk I The effect is mostuncanny, since everyone hears the me-dium talking to almost the last minutel Fig. 22

What happens is that the lady isalready behind the curtain with a duplicate black robe and mask.When the medium steps into his cabinet to get the coil of rope,the substitution is made, BUT since the medium's voice can beheard (he is speaking from inside his cabinet), everythingappears normal. Once the lady gets into the trunk, the mediumruns out a back door, around the outside of the hall and inthrough the front door!

29. THE SPIRIT SNOOPERSCOPE!. Legend has it that a powerfulmedium could never be caught simply because as soon as the lightswere turned off, he put on an Aura-scope! These are the goggleswith which you can see a person's aura. If anyone came near ormoved out of place, the medium could sence it!

The armed forces use a snooperscope with which they can seein total darkness! so look into it! The exposers can eat theirhearts outl


JO. 'Spirit' Noise Maker.Fig. 2), shows a wooden

penny matchbox, rigged with abutton and two elastic bands.When the button is wound up andthen released, it rotates faststricking the table top andmaking a roaring noisel

A hole is cut on the bottomof the drawer and also on thebottom of the cover. The tworubber bands are secured bytieing them around the drawer.

The box will make its noise when it is lifted!

A

x

x.

Fig. 24

31. THE SPIRIT RAPPER. In Fig. 24the X's represent the four sidesof a wooden box.'A' is a small pis-ton rod with two projections, thatcan be pulled out (arrow) and whichwill snap back into position, bytension of the spring 'B.'

As rod 'A' is pulled out, theleft projection catches the movableratchet 'C' and in turn, 'C' liftsthe hammer 'D' and then releases it. The spring 'E' then throws'D' back into position creating a loud rap on whatever surfaceit may be. According to F.W. King who first released this se-cret (1904), it is the very best rapper ever made. It attachesto the arm just above the wrist and then it can be placed overany surface. A string runs from the left arm to the right. Whenthe string is pulled, the rod is pulled and raps result.

Fig. 25

MARKED WITH"X' ~8UOREHAND~

32. THE MYSTERY OF THE MARKS. Here is an easy to do stunt thatalways mystifies. Fig. 25, explains it well in pictures.

One ofseveral in-dex cards,blank onboth sides,is secretlymarked withx.'s asshown.

Magicianshows thestack of cards whichare apparently all blank.

The marked card is then taken to do the trick. After the pie-ces are dealt into two piles, a good bit is to give the spectatora Magician's choice of any pile!

HINGE

Fig. 26

10

AN AL MANN EXCLUSIVEcorrt ,

101 PSYCHIC TESTS

MEDIUMISTIC STUNTS

33. THE SPIRIT COLLAR. The spirit collarshown in Fig. 26, is gimmicked by removingthe pin and cutting off a short piece fromthe bottom. The pin is polished so that itcan then be lifted easily with the fingernails but will not fallout by itself.

A bolt head, cut from another bolt, issoldered to the bottoml To present, thecollar is shown and placed on someone else'sneck to show how formidable it is. It isthen placed on the performer and securedwith a borrowed lock. The collar is removed behind a curtain orin the medium's cabinet. It may also be used to secure the mediumby attaching a chain to it and having someone hold the chain.

34. BLOOD WRITING. A favorite with Master Magician MaskelYne ofEgyptian Hall fame. He would roll up his sleeve and show his armunmarked and roll down his sleeve again. He would then state thathe will make a message appear on his arm in blood writing orskin writing. He would again roll up his ~leeve and the messa@9was seen in blood red letters.

The secret is that the first time he showed his arm, he showedone side of it. The second time, the other side of his arm wasshown to the audience which had the message there all along.

35. REAL BLOOD WRr.rING. Some performers actually pierced theirskin with a needle, making small punctures to form letters. Toproduce the message, the medium goes into his cabinet and swingshis pierced arm in wide circles vigorously and then lowers hisarm. When he rolls up his sleeve, letters are seen in real bloodlDroplets of blood on the outside of the skin are seenS

36, STIGMATA!. Like St. Francis of Assisi, the medium claims hecan produce stigmata (blood) on the palmsof his hands, through mental concentra-tion! He then proves itl He washes hishands and then places his palms on apiece of cardboard or thick paper andleaves an imprint in blood red.

The cardboard is prepared by paintingit with a solution of sodium salicylate.

The hands are washed in a solution ofiron-ammonium sulphate.

Dry only the backs of the hands andleave the palm side wet. Place your handson the board and the chemical reaction Fig. 27will do the rest.

Use two boards. One for each handand then give the boards out as mementosto your admirersl

11

Fig. 28


CONT

37. THE MYSTERY OF THE COLORS. In Fig. 28the lady is given several color crayonsand is told to secretly wrap them inpaper towels. She then hands onewrapped crayon to the magician behindhis back. The magician almost instantlyreturns the wrapped crayon to the ladytelling her the color.

A very simple trick. The magicianpartly unwraps the crayon and scratchesit stealing a bit of the color on hisfingernail. He then brings the rewrappedcrayon to the front, glimpses the colorand tells the lady the color of the stillwrapped crayonS

38. TIME, PREDICTEDI. "Would you believeit? I am going to predict exactlywhat hour you will set on my alarmclockl I have the powerl I am goingto write out a number from 1 to 12on this business card before you doanything." Psychic writes out theprediction. "Now please take myalarm clock and set the minute hand toany hour. Forget the hour hand. Justuse the minute handl I will turnmy back as you do that and then place theclock on the table so that I can not seethe face." After the spectator sets thehour, the psychic turns around and shows whathe wrote on the card which proves to be the hourset on the clockS

Fig. 29 shows that the alarm clock is gimmickedby making a mark on the stem wheel that sets the hour. Firstthe clock is set so that the minute hand points to12. The mark

is made on the top of the wheel. After the minute_hand is set toany hour, the mark will indicate the hour but in a reversefashion. If the mark points to 1, it indicates the hour of 111etc. For the prediction, the psychic writes nothing. After heturns back and glimpses the back of the clock he writes in thehour on the card with a nail writerl

101 PSYCHIC TESTS

MEDIUMISTIC STUNTS

39. CAGLIOSTRO'S MESSAGEI. Sitter is toldto write out his question on a card or piece ,of paper and then is given a small chest Ato place his question into and to lock it \.:and keep the key, while the medium is . ;~out of the room. When the medium re- ~~turns, he answers the question without \

Fig. 30

101 PSYCHIC TESTS

CAGLIOSTRO'S MESSAGE corrt ,


12

opening the chest! Fig. 30 shows the solution. The psychic isusing a magician's watch box that has a secret door that opensout at the touch of the fingers. The photo shows, for clarity,a business card being used. In actual practice, it is better tohave the sitter write on a piece of paper and wad it up into asmall ball. That makes it easier to handle. The psychic then opensthe wad on his lap, reads it, and repalms it back into the chestafter he answers the question, to the mystification of the sitter.

40. THE LAPPONE MOVE (with pocket slates). Two pocket slates areminutely examined by a number . ,of sitters, and cleaned andinitialed. The slates are ,,~ .. then tied together and amessage appears when later ~ the slates are untied!THE SECRET. Medium has three pocket slates butshows only two which are passed out. Medium hasthe third slate with mes- Fig sage on outside, palmedin his right hand. After 11 the slates are examinedthe medium scoops them up, adding th~ palmed slate and lappingthe bottom slate of the three. He then has the slates initialedand tied!

41. THE SPIRIT ARTIST. EFFECT. Two pocket slates are shown to bewithout marks. A deck of Mental Pictoria cards are then shown andtwo are chosen. One card is placed face down on one slate andwhen removed, the picture has transfe~ed itself to the slate andcannot be erased. When the second card is placed on the secondslate, the picture is transfered to the bottom side of the slatEISECRET, The two picture cards ar& forced. The first slate has amagnetic flap with a duplicate card under it and a picture ofthe card drawn on the slate and fixed with fixatif. The slate ismomentarily covered with a writing pad that contains a magnetand which picks up the flap and the top card to reveal the secon~card. When this is removed, the picture is seen.

The second slate has the picture drawn on its underside andcovered with a flap that has newspaper on the inside. The slateis placed over a newspaper and when it is picked up it shows thepicture drawn on it, on the underside!

42. ESCAPING FROM A SAFEI. This refers to the old fashioned hugeoffice safes that lock with a combination. You need a good pocketflashlight ( take two in case one fails and check the batteries),a screw driver ( I would take several sizes) and a small mechanicswrench. After you are locked inside, turn on your light andremove with the screw driver, the plate that convers the lock. Itis held with screws. Then line up the tumblers so that the boltcan be withdrawn and open the door, Then replace the plate. Thisis done usually behind curtains. There is enough air inside thesafe to sustain you for a long time. B1~ if you fail and panictake the wrench and knock on the walls furiously!

Fig.32

(201) 431 -2429

Fig. 33

13

,If\

:):,'~_If\

44. A second method with the rabbit, is to lay himon its back and part his ears holding them downflat against the table and pull his legs downflat and stretched and hold him there with yourtwo hands for about half a minute and then re-move the hands, it will remain in a sleep statel

43. RahbitaTake therabbit and swing himup and down severaltimes as shown in Fig.32. Then throw him onits back and hold himdown, still for seve-ral seconds, strug-gle will cease and itwill go into a hypno-tic sleep as in Fig. 33.

101 PSYCHIC TESTS

~~f1~tJ~c'1'''9 ""i.ma(,A!Animals can only be 'immobilized' instead of

hypnotised. They can be forced into a state fo relaxa-tion resembling a hypnotic state. This is done by pettingstroking and manipulations. Here follows the technique ofhypnotising aa

POSTOFFICE BOX 144 FREEHOLD, NEW JERSEY 07728

45. Chicken and rooster. A chicken can also be hypnotised by therythmic swinging mentioned above. Apparently, the rythmic swingingthrows the animal off balance and therby immobilizing it.

Amazingly, the same can be done with a humanl If a person istold to bend at the waist into a 90 degree angle and he is thenpicked up and swung up and down, he will be also immobilizedl

An easier method and faster, to hypnotise a chicken is toplace the fowl on the table with its legs beneath it, and ho~ddown his head and neck with the beak resting on the table. F1g. 34

Fig. 34

Fig. 35

101 PSYCHIC TESTS

HYPNOT IS ING ANIMALS corrt ,

14AN AL MANN EXCLUS IVE

Fig. 35

Fig. 37

~, . . ..~"'~

51. CRABS. Open the first two Fig. 38fingers of your right hand(or left hand) in the shape ofa "V" and approach the crab from behind and gently rub yourfingertips over its eyes. The crab will relax totally and gointo a sleep!

52. GUINEA PIG. Roll the animal over and over on the table andthen leave it on its back. It will go into a sleep trance!

53. PIG. Every farmer and his third cousin knows this one. Allyou do is to tickle or scratch the pig's belly with your finger-tips and it will rollover beautifully relaxed.540 PIGEONS. Pigeons are hypnotised in the same fashion aschickens and roosters. By drawing a chalk line before their eyes~55. IN THE ACT. The old time stage hypnotists would hypnotisefrogs by holding them down and gently stroking their backs. Theywould bring on stage several dozen giant frogs and place them allin a 'sleep' state and line them up on the table to the amuse-ment of the ~dience. This proved that hypnotism must be a rea-lity if even frogs could be hypnotised.

47. LOBSTER AND CRAYFISH, Place the crayfish on hishead forming a triangle with his large claws. Strokehis back for a moment or two and he then rests motion-less for some time. There always is a resistance butonce motionless, they remain so for a long time!

48. Frog. Hold the frog onits back and hold him theregently, covering it withthe palm of the hand untilit stops wriggling, willput it in a trance!

49. CHAMELEON.Use the same

technique hereas used withthe frog.

50. Snakes arehypnotised byplacing them ontheir backs andgently but firmly

,them down.

101 PSYCHIC TESTS

HYPNCYr ISING ANIMALS cont.


Fig.40

Fig. 39

56. WITH RABBITS. The old Hypnotist did the same thing witha basket full of rabbits. The rabbits were hypnotised in thesame fashion as the chickens, by drawing a chalk line in frontof their eyes and holding them ddwn gently and flat on thetable. They filled the stage with sleeping rabbits!

57. The PRIME SHCREr - in hypnotising animals is to handlethem gently. Love and tender care pays off here. Snake charmersand handlers know that and are able to control the most poiso-nous snakes in that fashion. Lions, tigers, elephants and horsescan be 'immobilized' by the expert trainers.

The second most important secret is to know what you aredoing! which brings us to.

58. THE COBRA!. How magicians hypnotise alive cobra snake is well covered in liT heShattered Chalice" an AME release.

Needless to say, only trained handlersshould play with cobras or poisonoussnakes.

Magicians do not take chances, TheirCobras have been defanged or have theirmouths sewed tight.

The magician's favorite cobra is theNaja-Naja cobra of India. It has the lar-gest neck span with beautifull brightcolor designs on the back and is the bestfor show purposes.

A most peculiar characteristic aboutthe cobra is that once it is picked upby the head, Fig. 40, (an easy task forthe trained snake handler), it collapsestotally and resembles a walking stick!

This is not too well known, except tomaster magicians.

Legend has it that Moses, the spiritualleader of the ancient Israelites used theEgyptian cobra Naja Haje, called the rodserpent, in his magic before the Pharoah.And turned his 'walking stick' into asnake!

Both the Naja-Naja and the Naja-Haje cobras mustbite their victims to inject the poison. While theKing Cobra (Fig. 39) and the Black-Neck Cobra ofAfrica shoot a stream of poison into the victim's eyes!

So wear a tight pair of goggles if you must play withthe King Cobra or the Black Neck Cobra

POST OFFICE BOX 144 FREEHOLD. NEW JERSEY 07728

101 PSYCHIC TESTS

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16

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In the following incredible feats of the theatricalStrongman, the brain is a bigger asset than the muscle.

Fig. 42

62. TOT EAR A TELEPHONE DIRECT ORY INHALF a Fold the loose edges of thepages to form a "V. II Fig. 4;. ThenGrip the book firmly and push thesides of the book down to open upthe ltV." The page s will tear, one byone!

59. T~ STRANGULATION TESTa In Fig. 41, a strongman has a rope around his neck and a dozenstrong sailors trying to strangulate him.The secret is thata The rope is of a largediameter (about 2 inch) and quite easy forthe strongman to manipulate. This gives hima small amount of slack. The tight grip on therope with his hands and his chin press againstthe knot nullifies the efforts of the sailors.

60. THE BRICK TESTa Strongman passes out abrick for examination. He will break thebrick with his bare hands, he says. The brickis found to be an ordinary everyday brick andis solid like a brick. Spectators try tobreak the brick but fail, even if they restthe brick on a sharp solid edge of steel. Fig. 41MR. Strongman breaks the brick with one chopof the hand. The SECRET is that Mr. S~rongman lifted the bricka few inches above a hard surface or floor and then came downhard with his hand. The brick breaks when it hits the hard surfaceor corner of steel or any solid material.

61. .!3end~ng_:..J>.?Lr u9_t_ S~~";lla Pass a bar of steelout for examination. It 1S 5 ft. long and 1/2inch square in stock. Take the bar and lean itagainst your instep, Fig. 42. Push at the cen-ter with one hand while you hold the top endwith the other. The bar will bend in half. Thenpress it against the thigh to finish bending itand then offer it to the audience asking themto unbend it!

Fig. 4;Fig. 44

63. RIPPING A DECK OF CARDS. Hold the deck in avertical position in the cupped left hand as inFig. 45. Then grip the deck with your right handand place your two hands as close to each other aspossible. Take a hard grip and turn your righthand anti-clockwise and your left hand clockwise.

Fig. 45

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corrt ,

Figs. 47 & 48

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BRAIN OVER BRAWN

64. THE NAIL ACT. DRIVING A NAIL INTO A WOODENPLANK WrTH YOUR BARE HAND!. Wrap a towel around

the head of a large nail and rest it against theback of your palm. Stick your hand straight outover your head and then bring it down with a sweepinto the board as shown in Fig. 46. The momentumgained by the swing of the arm is enough to drivethe nail into the board. Start with a one inchplank. Then use thick soft wood for the show.

65. DRIVING_ A NAI1-~J:IROUGH THE WALL.This is an easier matteras some doors and wall pa-nels are not that thick.The stunt is done in thesame fashion. Note thatthe nail sticks out betweenthe middle and third fin-gers.

Showmanship is the keyword that entertains!

Fig. 4666. BENDING A LARGE THICK NAIL WrTH YOUR BAREHANDS!. The nail is placed into a steel pipe- as shown in

Fig. 48. The pipe is held vertically and the nail is insertedinto it half way and then bent in half! Easy to do. You must alsouse a towel to protect your hand.67. BENDING A NAIL IN HALF WrTH YOUR TEETH! I Again the long steelpipe-rB used. The towel is folded severai~imes and jammed intothe mouth. The performer then places his mouth around the top ofthe nail and then hangs the weight of his body on the nail andit bends. A special set-up must be used so that the pipe remainsin a vertical position and so that it will hold the weight of theperformer. This is a favorite stunt for side shows.68. ElCTRACTING NAILS FROM A WOODEN BOARD WITH THE FINGERI'IPS!:

The audience is gIven one--ormorewooden boards--about oneinch thick by 10 inches square and some nails. They are told todrive in the nails but to not let the point of the nails comeout the back. Performer then extracts the nails on stage, withhis fingertips. SECRET The board is exchanged for one with loose

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BRAIN OVER BRAWN cont

18


nails J while on the way to the stage. The board is then coveredwith a hankerchief. Performer takes the nails out one at a timeand drops them on a glass dish and passes them out to be examinedl

69. PULLING A BUS WITH YOUR TEETHI. Thisis the stunt that strong men and psychicsdo outside the theatre to bring in thepublic. The stunt is not hard to do. Thebus (or car or truck) must be on a levelground (or one slightly and inperceptivelyinclined in your favor).

A steady pUll causes enough tension tostart the vehicle rolling. You only haveto move it a few feet. Make sure the vehi- Fig. 49cle is free to move in the first place.

Some Indian magicians pull a car by placing fish hooks withropes attached into their chest muscles!

70. NOTEI If you think that the 'Nail Act' is passe, read this.The writing of this treatise was interrupted to watch the T.V.show "That's Incredible" on Monday night 9/19/83. West CoastMentalist called to say he would be on the show and would dohis baffling telephone directory test. He was great!

The first part of the show introduced a Strong Man actl Mr.SM drove a large nail into a railroad tie by pounding it withhis open handL The ladies gasped. The nail was repeatedly hitwith the palm of the hand driving the nail home. Then Mr. SMtook the nail out with his teethl "That's Incredible" they said!

Three things were obvious to the well versed magician.10 The nail was large, about six inches long, and had an

extra large head, about 3/4 inch, or one inch in diameter. Thetop of the nail head was well polished to a smooth finish.

2. The railroad tie, was made of soft untreated wood.The tie measured about 6 feet long by 4 by 4 inches square.

3. The nail was pounded home with the back of the palmiVery few persons know that the muscle on the rear of the

palm of the hand can stiffen into a hard solid mass!Magician Jerry Fulton of Canada, does a test where he pla-

ees a metal pin vertically on the table. He then hardens hispalm by stricking the table top a hard blow and then! he bringshis open hand down on the point of the pin. The pin doubles upcausing no harmI

71. THE ANVIL TEST. Fig. 50 shows the Strong Fig.man with his back on a bed of nails, a heavyanvil on his chest and a man hitting the anvilwith a sledge hammer. The SECRET. First the per-former must practice laying on a bed of nailsoThe point of the nails is blunted and the nailsare very close together, so that actually there is

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harm done to the back of the performer except for some veryimpressive pock marks that disappear later. The rest is easy,the blows of the sledge hammer are absorbed by the anvil!

72. BREAKING A LARGE STONE ON THE CHEST OF THE STRONGMAN WITHA SLEDGE HAMMER AS HE LAYS ON A BED OF NAILS! This test is si-milar to the above except that a large stone is used. The stonetest is very dramatic as the stone breaks in half and falls downon the sta~e with a loud thump. The stone is made of soft sand-stone. Aga1n the stone absorbs the blows of the hammer!

73. A CAR IS DRIVEN OVER THE BODY OF THE STRONGMAN WIHTOUT INJU-RYI ~

Fig. 51 Fig. 52

In Fig. 51, as the car goes over the plank, its center ofgravity is shifted, due to the tilt. This also shifts the weightso that most of the weight of the car is over its right sidewhile the performer supports only a minimal harmless amount!

Fig. 52 shows a sensational demonstration that was given atthe New York Hippodrome by strongman Lionel Strongfort.

Little known is also the fact that the bones of the body cansupport enormous weight when in a vertical position. In Fig.52, the performer only supports a heavy load for a split seconduntil the car tilts the board over to the other side for thedescent. 99% of the time the weight on the performer is minimal!74. BENDING A STEEL BAR Figs. 53, 54WITH THE HEAD! I Place a foldedtowel over your forehead, Fig. 53, thenplace the bar over it and pullon the extreme ends with both hands.Then bend the bar into a pretzel asshown on Fig. 54.

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MIND OVER BRAWN cont

75. BREAKING A HEAVY WELDED-LINK CHAIN WITH THE CHEST MUSCLES! IThis sensational stunt has been featured by both

Strongman and Mentalists. The strong man breaks thechain after it is tested by several dozen menpulling on it. He breaks the chain by wrapping itaround his chest. He claims that the expandingforce of his mighty lung muscles split thelinks!

The Mentalist breaks the chain by 'MindPower! '

Both showman use the same gimmick. One ofthe links of the chain has been sawed apartand then welded with soft solder!

The Strong man gimmicks the last link. Whenthe chain is tested it is usually held by thethird or fourth links. A team of horses can notsplit it!

To demonstrate his technique, the Strongman attaches metal sister hooks to the lastlink (or an "s" hook) and then links thechain into a circle or a figure '9.' He thenwraps the chain around his lungs and inhalesand expands his chest to break the chain. Orhe can do it as in Fig. 55 which is a theatric-cal pose of showman Paul von Boekmann, circa1931. The Mentalist must use a link thatcollapses at the touch of the fingers! Fig. 55760 LIFTING A HEAVY MErAL TANK FULL OF WATER! I

Fig. 56 shows a huge tank inside a specialplatform with a harness and chains attached tothe tank. It looks formidable. It is a metal tank!

Members of the audience are invited to climbup to the top platform to inspect the tank. Whenthey get up there they see a tank filled with tonsof water. 100 men could probably not be able tolift it. BUT Mr. Strongman lifts it right off thefloor all by himself!

What the audience do not see is that as soonas the spectators come down off the tank platform,the water is drained off through a concealed drainon the stage floor! So that Mr. Strongman liftsonly an empty tank. OH! Yes! the tank is stillheavy since it is a metal tank. BUT the Strongman Fig. 56can lift it very easily with the special harnesshe uses. And by pressing up with his legs!

This type of test is rarely seen due to the expenditure ofthe special equipment used. BUT when it is done it creates aseansation!


Fig.58

cont

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77. VERY STRONG LADIES.Fig. 57 shows a lady

holding her index fin-ger against her fore-head and daring the manto lift it upwards. He fails

Fig. 58 shows a lady thatis apparently lifting theweight of five men!

Amazingly. both ladiesdepend on the law of leve-rage which makes their taskquite easy.

In Fig. 57. the positionof the lady throws the manto a disadvantage. All shehas to do is to hold herfinger firmly against herforehead and the man can notlift it. The taller the ladythe better her leverage!

In Fig. 58. the lady isusing a principle that issimilar to the 'Abnormal Lift' used by magicians. This principleis a mystery and hard to explain. But note in Fig. 58 that there'sa set of stanchions directly and vertically over the lady'sknees and therefor over her lower leg bone. It is these bonesthat support the weight. BUT that is not all. the two men on theleft counterbalance the two men on the right and the center ofthe cross bar bends slightly upwards thereby throwing most ofthe weight's stress upwards into the air. The man standing is oflittle consequence except that it adds to the effect. He isstanding on a board that lays across the ladies knees. This ac-tually helps in keeping the cross board from warping!

78. If A YOUNG LADY EXTENDSHER ARMS AND PLACES HERHANDS FLAT AGAINST THEWALL, HALF A DOZEN PER-SONS CANNOT PUSH HERAGAINST THE WALL!

Here again isproof that the humanbones can stand anenormous amount ofpressure, the limitsof which is not yetknown!

Fig. 59

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~etit~:79. THE UNREACHABLE MATCHBOX. Draw achalk line on the floor. Then place apenny matchbox three feet forward of thechalk line (or three foot lengths). Then haveanyone stand behind the line and try to kickthe matchbox with one foot. Chances are they

cannot. As they will surely loose their balancelFig. 60.

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80. THE MYSTERY OF THETYPEWRITER. Give a ..person the list of

words shown in Fig.61 and tell him tosecretly chooseone of the words

-and then to go toa typewriter and

secretly typeout the word.

Psychic then goes to the typewri-ter with another piece of paperand duplicates the word!

Fig. 61 gives the secret.before the test is done, the psychic places chalk marks on thefirst letters of all the words. The first letter of each word isnot found in any other word! So when the psychic goes to the type-writer he looks for the typewriter key that has been used andwhich does not show the chalk mark clearly! With a little thoughtyou can make a prediction out of it!

POSTOFFICE BOX 144 FREEHOLD, NEW JERSEY 07728

81. THE MYSTERY OF THE ORANGES. Here is an effect that you cando totally impromptu, providing your host has a basket of orangeson the table.and further providing that the oranges have thepips on the outside that are easily removed.

One person is given an ink marker and told to secretly pickone orange and sign his name on the outside and then to placethe orange in a bag together with several oranges. The bag isthen shaken and the psychic sticks his hand in and gets the signedorange. The SECRET is that the psychic places the other orangesinto the bag and he flips off the pip ends of each orange. Whenthe signed orange is mixed with the others it is easy to find bytouch. The same thing can be done with tomatoes!

23101 PSYCHIC TESTS AN AL MANN EXCLUSIVEPSYCHIC MEDLEY cont "

82. THE MALAYAN THUMB TIE. Fig.Rere is a very simple and 62

practic fast-release thumb tie.Fig. 62 shows what the audience isshown. Fig. 63 shows the secret movethat gives the magician enough slackfor a fast release. This is great foruse in the seance room and also fordoing the "Slave Bangle" routinewith the metal rings.

83. THE MANGO TREE MYSTERY. Indianmagicians baffle theirsidewalk audiences byplanting a seed into thebare ground and thenwatering the plant re-peatedly until a three-foot high ~lant emergesfrom the spot withinminutes.

This trick will baffleanyone, if they do notknow the solution.

The Indian magician Fig. 63prepares the ground du-ring the early morninghours when no one is onthe streets. They dig ahole in the ground and embed a metal tank that contains the fullgrown mango tree with a floatable cork bottom. So during the showafter the seed is planted, it is covered with a tent cloth andthen watered freely . Everytime the plant is watered, the corkfloat pushes the plant upwards, an inch at a time in a most ma-gical fashion to the mystification of the observers!84. EATING GLASS!. Performers that eat glass actually do justthat. They eat the glass and there is no trick to it. This iswritten here for information purposes only as it is a very rareperson that will resort to eating glass for a living unless youwant the publicity and then there are many other ways of gettingpUblicity. The secret ( I have been told) is that the glasseater must be a master at regurgitating~ Glass eaters claim thatthey prepare themselves by eating lots of bread, bananas and co-ton wool! The glass, they say, sticks to the bread or bananasor wool and then is easy to regurgitate. (We have a mystic inthe New Jersey area that regurgitates a good ten pounds of je-welry, that is then considered priceless by his devotees-circa1983!) Anyway, the best glass to eat and the best for theshowmanship is light bulbs. Take a lightbulb, a borrowed one,and cover it with a cloth and then break it with a hammer. Thenplace the pieces in your mouth and grind it to tiny bits andswallow it! Godd luck, braveones.

~?'Fig. 6;

24

101 PSYCHIC TESTS AN AL MANN EXCLUSIVEPSYCHIC MEDLEY cont 8;. DIRECT MINDREADING. The most direct, easiest and fastestmindreading method was invented by Joseph Ovette. Members ofthe audience wrote and sealed their own questions. The sealedquestions were collected and placed on the table where the psy-chic was sitting. There was no exchange of envelopes or any tri-cky or suspicious apparatus or moves used. Mr. Mindreader thenproceeded to answer the sealed questions and return the envelopeand question paper to the audience!

The secret was that the Mindreader's table was drapped andan assistant was hiding under it. He took the envelopes, openthem and read the question and wrote it on the outside of ano-ther envelope and sealed it. The rest is obvious.

Needless to say, the exposers took the secret and used it onstage as a comedy! The method is a winner today.86. THE WHISPERING SEASHELL. Spirits talk through a seashell,you say. Placing the lar@e seashell to the ear of any person theycan hear the sound of the ocean and then! they hear a whisper!The psychic then tells the person what the whisper said!

The SECREr is that the psychic is using a palpitator gim-mick! The end of the tube, after the bulb is removed, is secretlyheld in the hand. As the psychic puts the seashell to the ear ofthe spectator, he allows him to first hear the hissing sound ofthe ocean (any large shell has a hissing sound due to the aircurrents) and then he activates the palpitator which does a his-sing noise which resembles a whisper.

87. X-Ray Vision. Effect. A well shuffled deck of cards is cutinto four piles by a spectator. The psychic then names thebottom card of each pile!SECREr. There is a small mirror attached to thebottom of the card case. Psychic glimpses thebottom card as he picks it up to name the card!(nobody ever looks at the bottom of the case)

If you are surrounded then you must resort toa reducing mirror held in the palm. This is a baf-fling effect to the lay mind.

88. THE CARDS IN THE BOX. Three cards are secretly chosen by oneor more persons and inserted into the card box. The Psychic namesthe cards, one at a time.THE SECREr. Prepare a double ended card box that opens on eitherend. The regular flap-end is ungimmicked, but the bottom flapcontains some mirror sheet in the inside. After the three cardsare secretly chosen, the spectators place them inside the cardbox and close the box. Psychic then takes the card box and 'feels'it and opens the bottom flap and takes out, partly, the threecards and names the face card of the three, which obviates thethought of marks, then the next, etc. A card box can be gim-micked so that both ends are alike, but the psychic opens the un-gimmicked end at the start of the presentation so that the mirroris never seen! Place the mirror sheet on the 'dot' Fig. 6;


Fig. 67

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89. THE TEST OF THE WORDSI. The Medium sits athis table with one or more sitters across Qfrom him. There are several books on the table."We must do a test to tryout the vibrations,before we start anything else. So pleasesecretly choose a word from this book andwrite it on this card." says the Medium, as Fig. 66he takes a book and hands it to the sitterstogether with white cards and pencils.

Three words are chosen. The medium then collects the threecards face down and places them vertically in front of him withthe writing facing the sitters."Please concentrate on this word."he says as he points to the word showing. He then ,names all threewordsl THE SECRET is that one of the books has a strip of mirrorcemented to the edges of the pages as shown by the arrow, Fig. 66.90. THE NUMBER ON THE BULLEr. The audience is shown a card witha wheel and spokes as In FIg. 67. The sections madeby the spokes are numbered from 1 to 8. The card isthen sealed in an envelope and tacked to a wall.The Magician next takes a 22 caliber bullet andsecretly marks a number on it and informs the au-dience that the number is his prediction. He thenhas someone from the audience shoot the marked bulletat the envelope with a riffle. Upon opening theenvelope the card with the bullet hole is passedaround and found that the bullet has hit one number.The cartridge is then taken out of the riffle andfound to have the same number scratched on it.

SECRET. There are two cards used , The card shown is switchedvia an envelope switch for another duplicate card that has abullet hole in it through the number to be predicted.

To PRESEN~. The first envelope is switched for another thathas a slit through the middle and the card sticks half way outof the envelope. The magician takes this envelope and folds itin half and places it to his temple and/or to the temple ofone of the spectators for vibs. Then the envelope is unfolded,but leaving the card folded in place and the envelope is tackedto the wall. A circle is then drawn on the top half of the en-velope and a sharp shooter is told to aim for that half markedby the circle. The card is smaller then the envelope so that nomatter where the bullet hits, the mark looks normal. The envelopeis taken off the wall and the card taken out and passed to theaudience and the envelope torn up. The cartridge is then checkedfor the marks. (The prediction can also be made in a sealedenvelope). The flapless envelope switch is recommended.

If guns and bullets are not your cup of tea, then use a nailand a hammer and have the spectator drive the nail through theenvelope 1

26


PSYCHIC MEDLEY cont

91. THE TONGUES OF HADES. In an earthen-ware jar with the topopening smaller than the bottom, place 1/2 ounce of sal ammoniacand 2 ounces of aquavitae. Set fire to the jar in the darkenedseance room and the effect is that each person sees the otherenveloped in flames.

Aquavitae is also known as Water of Life and alcohol.Brandy may also be used.

92. THE SECOND HAND MIRACLE. EFFECT. Six paperback books arethrown into a bag. Anybody chooses one secretly, opens to anypage and reads the first word and then places the paper backon the psychic1s hand behind his back! By touching the bookthe psychic tells the title of the book and the word chosen.

THE SECREr. All six paper back books have the same contentsbut under different cover. Anyone calls out a page number andanother person secretly chooses one book from the bag and opensit to the page and memorizes the first word or two.

Behind the back the psychic, either tears off a corner fromthe book which contains a secret mark (say 1 to 6) or gets animpression on his finger of a mark written on the back page in-side the bottom corner, with indelible" pencil.

To tell the front of the book from the back, the upper righthand corner of the front cover of each book is cut off. Storesusually do that to tell that the book is second-handI

The words are gotten from a prompter list after the page is .called. If the reader is rich then he can have paper books boundall containing the same page repeated over and over but underdifferent cover.

93. THE BUG IN THE EAR. (A hypno-Trick) A hypnotised person istold that he has a bug in his ear. The hypnotist has a long hairattached to his index finger and he sticks it into the subjectsear as he points. It never fails.

94. Delicious soap!. (Another hypno-Trick) A hypnotised personis told that a bar of soap is very delicious and he eats it andsays that it is very delicious. SECRET A piece of Smooth whitecheese is cut to the size of a bar of soap and wrapped in thesoap paper.

95. SPIRIT ANTS. Magician opens up a jar of invisible ants andlets them crawl into the audience. Soon the audience starts toscratch. Magician walks into the audience and points with hispencil saying, "There is one" as he touches someone' s arm andthat person starts to scratch. Magician then says, "Sometimesyou can see the ants!" And he shows some live ants crawlingabout. SECRET. Suggestion and some itching powder and somereal ants. Magician dips the erasor of his pencil in some itchingpowder as he walks towards the audience and touches people with

it. Then he removes the erasor from the pencil secretly and letsout some real ants from his hollowed pencill

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96. THE SPIRIT VIOLIN. Place a violin on a chair in the middleof the room and then dim the lights. The violin will sound ifyou pass a string treated with resin over the strings. Have yourassistants pUll the string back and forth. It is spookyl

97. THE SPIRIT HARMONICA. There are several ways of making theharmonica play while the mediums hands are held. One way is thatthe medium uses a straw and blows into a harmonica that is co-vered with chicken wire. Another way is that the medium has atiny harmonica in his mouth and plays it. A third method is thatone of the assistants plays it.

98. THE SPIRIT T'RUMPEl'. Anassistant hangs a trumper ona circular wire stand as shownin Fig. 68, while the medium isin her cabinet in a trance. Thelights are then dimmed and voi-ces are heard coming from thetrumpet in Whispers. Questionsare answered and message given.

THE SECREr. From inside thecabinet, the medium speaksthrough another larger trumpet.The voice is aimed at the outside Fig. 68trumpet so that it seems to comefrom it. The trumpet rotates on a horizontal arc as it is aimedat different sitters.

99. THE EAST INDIAN BEAN TRICK. EFFECT. Psychic takes threebeans and shows them. He then places one in his mouth, chews itand eats it. His mouth is examined and found empty. He repeatswith the other two beans. Then the beans show up, one at a timebetween his teeth. He takes the beans and places them into hiscupped left hand from where they vanish totallyl

Beans should be prepared by placing them in cold water andboiling them till they are half-cooked.

The three beans are shown openly. The first one is placedinto the mouth, chewed up and actually eaten. Same with the se-cond bean. The mouth of course can be thoroughly examined.

The third bean is not eaten or chewed but is hidden under thetongue. The mouth can be shown empty. Then the bean is producedat the teeth and as the psychic pretends to take it out, he ac-tually pushes it back into the mouth and then pretends to put itinto his cupped left hand. The same is repeated two more times,after which the third bean is swallowed and the vanish move ismade showing the hand empty. If you want to reproduce the beansfrom your ear you had better prepare three more beans. Or use afinger tip and produce them from your mouth again.

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28

AN AL MANN EX:CLUSIVE

100. THE GRANDE ENTRANCE, EFFECT, The ushers collect sealedquestions from the audience in ungimmicked baskets and place themon the stage. Mentalist then makes his entrance and thanks theaudience for writing the questions. He then invites anyone fromthe audience to come and choose one sealed question and open itans read it. The Mentalist on the other wing of the stage divinesthe questions and answers it, and has the writer in the audienceacknowlege itl

A Nelson changing grocery paper bag is used. (see Miracles inMentalism by Nelson). The bag contains 10 sealed envelopes allcontaining the same message which has been copied before the showfrom questions collected from the first customers. Mentalist takesthe bag and opens it and places a bunch of sealed envelopes fromthe basket on stage and then invites anyone to stick there handinto the bag and choose one questions. The effect is profoundl

101. THE AME SPIRIT LOCKs (by Al Mann from notes dated 1/lJ/69)The AME Spirit Lock can be opened with a key and

it can be open with the bare hands IThe lock is made in two parts, the top half

that contains the shackle and the bottom half }\_\that contains the key cylinder. ~

In Fig. 69, The top half "A" is a unit initself as it contains the shackle and canactually be opened and locked. This top halfis screwed to the bottom half by threadsand the two half then look normal like aregular lock, but it can be opened by twis-ting the bottom half clockwise while holdingthe top half and turning it anti-clockwiselPARTS,A. The top half (about 1 inch high by 2 wide)B. The bottom half (1 inch high by 2 wide)C. The shackle and spring.D. The threads, made of hard steel and in-

dipendent from the key cylinderE. The key CylinderF. The key HoleG. The sealing plate with rivets. There are Fig. 69

two of these plates. One seals the bottomof the top section and the other seals the top of the bottom

section of the lock.The key cylinder can only turn to the right or clockwise to

open the lock. There is a stop notch of metal that stops the keyfrom turning to the left. When the bottom half of the lock isturned clockwise, the stop notch turns the key cylinder also andopens the lockl The threads "D" are left-hand threads!

The body of the lock is made of many metal plates in the fashionof corrugated locks, one plate mounted over the other.

Have fun,

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Al Mann - 101 Psychic Tests